Some scientific enterprises, like good wine, mature over a long period of time. The present publication, dating back to 1986, is the result of a similarly deliberate and painstaking process, and in view of the fact that it was undertaken with French colleagues, the wine metaphor is a most natural fit.
By: Adi Koren, Or Dotan, Avigail Harel, Nave Klil Hachoresh, Clement Robert, Courtney Blue, Yaniv Dery, Noam Peleg, Sonja Wiedemann
English translation: Courtney Blue
The earlier version, entitled “Cross-Repertoire Motifs in the Liturgical Music of Ashkenazi Tradition,” was presented at the World Congress of Jewish Studies, Jerusalem, 2013. This article is an expanded and elaborated version of that paper.
The American Society for Jewish Music (ASJM) serves as a broad canopy for all who are interested in Jewish music. Its members include cantors, composers, educators, musicologists, ethnologists, historians, performers and interested lay members - as well as libraries, universities, synagogues and other institutions.
This entry is part of an online exhibit entitled: "Hava Nagila: From Idelsohn to Belafonte & Beyond," prepared by Eva Heinstein with help from the JMRC staff. To view the exhibit in its entirety click on the link above.
